La Folia, the beloved Festival for Early Music in Rougemont, celebrated its 25th anniversary during Pentecost week with a series of seven concerts and five open-air events. Audiences were very enthusiastic about the new concept.

On Pentecost Sunday evening, the youthful quartet *Nevermind* took the stage in Rougemont’s Romanesque church. Their performance style—relaxed yet focused—reflected the very essence of the venue, which has long been celebrated not only for its acoustic qualities but also for its welcoming, intimate atmosphere. Their chosen piece, Bach’s “Goldberg Variations” (BWV 988), drew such a crowd that the 11th-century church was bursting at the seams.

A demanding “Classic”
While this work by Johann Sebastian Bach is among the most popular in the classical canon, it is anything but simple. Conceived initially as a harpsichord exercise and named after Bach’s student Johann Gottlieb Goldberg, the composition comprises an aria followed by 30 variations—a masterclass in baroque musical craftsmanship. The structure threads together styles from canon to quodlibet, from adagio to playful counterpoint, spanning two centuries of musical history. For musicians, performing the Goldberg Variations is a test of both technical precision and emotional nuance; for listeners, it’s a journey of layered complexity and subtle beauty.

“Nevermind”: Lightness without pressure
Despite the musical challenge, the members of *Nevermind* delivered a performance of grace and ease. Traverso flautist Anna Besson played with exceptional sensitivity, her period instrument soft yet perfectly audible in the hushed church. Robin Pharo (viola da gamba) and Louis Creac’h (violin) offered delicate solo passages, while the overall cohesion of the ensemble was striking—clearly the product of careful rehearsal and genuine enjoyment. Their interpretation was as refined as it was effortless, making for chamber music that was both technically sharp and emotionally free.

In praise of the Harpsichord
The harpsichord—Bach’s preferred bridge between the variations—was masterfully played by Jean Rondeau on a double-manual instrument crafted by Jean-Michel Chabloz. Rondeau’s interpretation was subtle yet present, weaving seamlessly with the ensemble and occasionally alternating with the church organ, just as Bach might have intended.

“OFFolia”: A jubilant expansion outdoors
In honour of its anniversary, La Folia introduced “OFFolia”, a new series of outdoor events. On Pentecost Monday, the festival broke new ground with its first-ever open-air concert in Rougemont’s castle park. Under sunny skies, ensemble members “Chiome d’Oro” performed an aerial dance set to the music of Monteverdi. For 40 minutes, excerpts from “Les Divins Caprices” spellbound the crowd.

The performance was led by soprano Capucine Keller, who has also served as La Folia’s artistic director since 2015. Excerpts from Monteverdi’s operas and eighth book of madrigals were brought to life by countertenor Maximiliano Baños, tenor Leo Moreno, and bass Renaud Delaigue. They were joined by a string trio—Sushaant Jaccard, Vincent Flückiger, and Benoît Bératto—and accompanied by aerial dancer Séverine Bennevault Caton, who performed poetic, weightless choreography above the musicians. The grand finale featured a vocal performance by Capucine Keller herself.

Taking the music beyond the church
The success of this inaugural outdoor concert was followed by four more "extra muros" events—held in a cinema, the forest, a mountain breakfast spot, and a local restaurant. All were well attended and featured artists who had already appeared in the main festival programme. The aim, organisers said, was to enhance the jubilee without detracting from the core church concerts. Many hope these new additions will return next year based on the warm reception.

Based on AvS | Tina Dosot